Before you book, make sure that the course is what you want. Sounds simple but there are a wide variety of possibilities and you need to be sure that whilst your tutor will provide what you want, you are still open minded and happy to accept criticism and guidance.
“Think about whether you want to be in a large class or a small group. What medium do you want to use? If you are experienced, then maybe you don’t want to try something new, but if you are a complete beginner you might well want the chance to try a variety of media. You might want to consider whether your tutor is also a teacher. How much tuition do you want? Do you want instruction or guidance?
Tessa Sulston, Director of Art, Callington School of Art, Cornwall www.callingtonartschool.com
Like many schools, full course details are available to view on our website, all of which are individually written by our experienced tutors. It’s important to carefully read the course details to get a flavour of what to expect, including the course level, what to bring with you, and what items can be purchased on-site at our college shop.
Deborah Petch, Short Course Programmer, West Dean College of Arts and Conservation, Sussex www.westdean.org.uk
A COVID-ready working space is important this year. Choose a school which offers large, well-ventilated studios. Make sure the school has a non-sharing policy on things like brushes, materials, easels and even chairs – if in doubt, take what you need so you don't have to share. Make sure the school has a Plan B, such as rescheduling your course dates or offering you an equivalent if you have to self-isolate or there is another lockdown.
Denne historien er fra September 2020-utgaven av Artists & Illustrators.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
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Denne historien er fra September 2020-utgaven av Artists & Illustrators.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent? Logg på
Still life IN 3 HOURS
Former BP Portrait Award runner-up FELICIA FORTE guides you through a simple, structured approach to painting alla prima that tackles dark, average and light colours in turn
Movement in composition
Through an analysis of three masterworks, landscape painter and noted author MITCHELL ALBALA shows how you can animate landscape composition with movement
Shane Berkery
The Irish-Japanese artist talks to REBECCA BRADBURY about the innovative concepts and original colour combinations he brings to his figurative oil paintings from his Dublin garden studio
The Working Artist
Something old, something new... Our columnist LAURA BOSWELL has expert advice for balancing fresh ideas with completing half-finished work
Washes AND GLAZES
Art Academy’s ROB PEPPER introduces an in-depth guide to incorporating various techniques into your next masterpiece. Artwork by STAN MILLER, CHRIS ROBINSON and MICHELE ILLING
Hands
LAURA SMITH continues her new four-part series, which encourages you to draw elements of old master paintings, and this month’s focus is on capturing hands
Vincent van Gogh
To celebrate The Courtauld’s forthcoming landmark display of the troubled Dutch master’s self-portraits, STEVE PILL looks at the stories behind 10 of the most dramatic works on display
BRING THE drama
Join international watercolour maestro ALVARO CASTAGNET in London’s West End to paint a dramatic street scene
Serena Rowe
The Scottish painter tells STEVE PILL why time is precious, why emotional responses to colour are useful, and how she finds focus every day with the help of her studio wall
Bill Jacklin
Chatting over Zoom as he recovers from appendicitis, the Royal Academician tells STEVE PILL about classic scrapes in New York and his recent experiments with illustration